If you're directing, it doesn't really matter any more if it's going straight to TV - what matters is whether you have the resources to make a story that moves you.
It's hard because there's a part of me that wants 'True Detective' to win every award we're nominated for. But I'm a huge fan of 'Breaking Bad' and 'Game of Thrones.'
I'm better suited to be a director, I think. I see myself as the general author. I hate the word 'auteur,' because it sounds so solitary when filmmaking is anything but solitary.
Literally, I don't have a television. So I don't really know what's happening pop-culturally. I read the 'New York Times.' And there's one worldwide cabin blog that I look at.
On 'Sin Nombre,' Adriano Goldman and I improvised a lot of things on-site. We were working with untrained actors, and you can't really block a scene in a traditional way.
For whatever reason, we relate to anything godlike with an English accent. The English are very proud of that. And with anything Roman or gladiators, they have an English accent. For an audience, it is an easy trick to hook people in.
The audience has to understand that if the film is going to have any meaning for them. If they are going to empathize with the characters, they have to visualize the process of concentration involved in making every move.
I knew exactly how I wanted it to play, but you are never sure until you watch the projected images reflect off the screen. That's when you know it worked.
I think one of the reasons people quit is because they're afraid they won't be able to get better and better; that they have to come to a zenith of some kind.
What I worry about the most is the competition for young eyeballs. We have so many other competing forms of media. I don't take any audience members for granted.
The contemporary American novelist benefits in a way from being ignored. It makes you angrier and makes you want to go into all of those places where you shouldn't.
In films of terror, it's often not about being graphic. Or if there is a graphic image, it's extremely swift. Everyone talks about the shower scene in 'Psycho,' but that's the only graphic scene in the entire film.
There is a movement to get an international criminal court in the world, voted for by hundreds of states-but with the noticeable absence of the United States of America.
It's fine when you careen off disasters and terrifyingly bad reviews and rejection and all that stuff when you're young; your resilience is just terrific.
Artistic self-indulgence is the mark of an amateur. The temptation to make scenes, to appear late, to call in sick, not to meet deadlines, not to be organized, is at heart a sign of your own insecurity and at worst the sign of an amateur.
I don't look back. I look forward and plan new shows. That's really feeding the most important part of working in the theater.
I feel so much more comfortable when I'm working on material which makes other people scratch their heads and ask, 'You're going to make a musical out of that?'
'Evita' was four pieces of slick paper and a record album. It's the most scary, to sit down and dictate a musical scene by scene. It was a musical unlike anything I'd ever seen before myself.
Lyrics can't do what they do - or should do - when you're creating a musical with rock lyrics. There's plenty of room for rock musicals, just not all rock musicals.
When I was a 25-year-old kid, I raised $260,000 for my first show, 'The Pajama Game,' in such a homemade, pathetic, endearing way - a buck here, a buck there.
A few words of Hindi appear here or there, but it's all Urdu. I feel that if the popular culture, which is what Hindi films are, uses Urdu, it's not going to diminish.
